Eagulls @ Norwich Arts Centre
Tonight demonstrates that Eagulls definitely aren’t for everyone
Leeds five-piece Eagulls are an obscure bunch. Their intense noise-rock music has attracted them widespread media attention and a matching fanbase, and tonight they make what’s shockingly their first visit to Norwich in promotion of upcoming sophomore LP Ullages. It’s my first time seeing them too, and the air is rife with anticipation.
The first act on the four-band bill is 99 Watts. Apparently when he’s on duty, he’s Eagulls' driver. Musically, you wouldn’t tell. Performing delicately built up guitar pieces with the help of a keyboard and an impressive pedal assortment, his songs are magical and striking, similar to The xx.
He’s followed by Soyuz Rats, a male duo with a similar guitar/pedal set up. Initially, it sounds very loud, and not very inspiring, but as they progress through their set the technical expertise underneath the roar becomes apparent. Substituting drum sounds with their own crackling guitar feedback, as well as interspersed pre-recordings, it’s impossible to tell which sounds are being created, recreated or simply pressed play on. An alternative and impressive performance.
Third and final support comes from Fear of Men, an indie/electro quartet from Brighton. Frontwoman Jess Weiss emerges wearing a sheet over her head, which seems more amusing than fashionable, and appears vacant and distracted in her stage presence for the most part. Musically, their songs consist of graceful keys and vocals layered over a pounding drumbeat. Despite being the most reserved act performing tonight, they are well received and do a good job at warming the sizeable audience up for our headliner.
Eagulls are billed to start at 10pm, but it’s pushing 10.40 before they ultimately rock up. Norwich doesn’t seem to care and as the thunderous drumming of Lemontrees commences, the buzz from that one extra pint can be felt in the echoing room. The band’s sinister looking iconography is emblazoned on every wall in the form of huge monochrome flags, over which is broadcast a piece of vintage European cinema. Niche but effective.
Some older tracks follow – Yellow Eyes, Nerve Endings and Hollow Visions, all post-punk fireballs that get mosh pits kicking under frontman George Mitchell’s Cure-like vocals. Some new cuts are diced in too as the group, “test the waters in Norwich.” Bloom sees Mitchell lose his long coat as the tempo is raised, pointing towards a more mature, refined sound from the upcoming album.
But what Eagulls stand out for musically, they lack in performance skills. Granted, the technical goings-on clearly require a hefty amount of concentration, but the band stand static almost exclusively, and even Mitchell’s ad-libs are short and monotonous. Does it add to the cult-like aesthetic of the performance? Somewhat, but by two thirds into the set, it’s clear I’m not the only one losing interest as punters filter out of the crowd gradually.
Tonight demonstrates that Eagulls definitely aren’t for everyone. But for a debut show in a city far from home, they’ve done pretty well. Just don’t expect to see them smashing chart records any time soon.
